Research has always played an important role in Ratti’s practice, from her investigations into the migration of birds for an exhibition at Kunsthaus Bregenz in 2000, to her study of Carla Lonzi’s text, Let’s Spit on Hegel, ​for a recent exhibition at Libreria delle donne di Milano, a historical feminist association, publishing company and bookshop. Her work is site-specific in both the choice of subject and the physical negotiation of the space. It is the subtlety of her deployment of design, craft and architectural intervention that seduces the viewer. In this exhibition the voluptuous shapes, transparent curves and ethereal mark-making invite us to consider critically one of the most controversial figures in psychoanalytical and scientific theory at a moment when the current perception of science and the humanities, C.P. Snow’s ‘two cultures’, is once again in flux.

[Amanda Wilkinson Gallery]

Annie Ratti

artist

Research has always played an important role in Ratti’s practice, from her investigations into the migration of birds for an exhibition at Kunsthaus Bregenz in 2000, to her study of Carla Lonzi’s text, Let’s Spit on Hegel, ​for a recent exhibition at Libreria delle donne di Milano, a historical feminist association, publishing company and bookshop. Her work is site-specific in both the choice of subject and the physical negotiation of the space. It is the subtlety of her deployment of design, craft and architectural intervention that seduces the viewer. In this exhibition the voluptuous shapes, transparent curves and ethereal mark-making invite us to consider critically one of the most controversial figures in psychoanalytical and scientific theory at a moment when the current perception of science and the humanities, C.P. Snow’s ‘two cultures’, is once again in flux.